It seemed an intermediate program of romantic products. Bruch’s Scottish fantasy and Bruckner’s fourth symphony were written around 1880, although, as with everything, Bruckner took all criticism seriously and then rework several aspects of his work without changing the general form of him. These works of similar origin, of course, also contrasted. Bruch’s fantasy was written for a star artist, Pablo Sarasate, and clearly the composer had in mind his potential for the popularity of the audience, while Bruckner probably did not write anything out of the intensely personal internal impulse to express his faith. Fantasy uses popular melodies of songs and folk as a base, while Bruckner’s music always seems driven by very personal energy. In any case, these are works that this particular listener has heard many times and represents a music approach that is not a great personal favorite. I had also prepared, choosing previously to listen to an action of the symphony that I remembered from an anterior tour of Spain through a foreign orchestra a few years ago, a tour that included a symphony performance in Alicante which I attended. Thus prepared, I applauded the elbphilharmonie orchestra of the radio of northern Germany (NDR) on stage.
What had not anticipated was a similar action from the one I rarely heard. Joshua Bell arrived to play Bruch Scottish’s fantasy. Now the reputation can be built on marketing, in which case the ego’s performance experience is often less than the promise. With Joshua Bell, one feels, the opposite is true. He is in such music control, so comfortable with his expression, that the instrument, the human being, art and interpretation become a single force. The result would be devalued by the ‘Spellbinding’ label. Sometimes he felt like an effort to remember breathing, so completely absorbed in acting. It was an improved experience for the obvious ability of Joshua Bell and delight in communicating with directors, fellow musicians and audience to create a sense of inclusion and sharing. A bis seemed inevitable and appeared. Again it was a popular option, but with an unknown appearance. Therefore, or my Caro Babbino de Gianni Schicchi of Puccini became a single violin with a discreet orchestral accompaniment.
Until now not mentioned, director Alan Gilbert led his NDR Elbphilharmonie orchestra in the Bruckner symphony. Given the previous association of the orchestra with Gunther Wand, this was surely a family territory for the band, but this familiarity not only raised respect, but the immediate and radiant brilliance. Its relationship with its main director recently adopted clearly will not only be based on the tradition of the orchestra, but also improve it.
There was no time in this action when interpretation, interpretation, sound, writing, even the complete musical sense fell below the impressive, even revealing. Often, Bruckner’s tremolo chains create the oral equivalent of the washing of a painter, indicating anything in itself, but coloring the general effect with a dominant presence. In the hands of the NDR and Alan Gilbert, the tremoli clarified by adding what seemed like the perspective of another dimension within the image. Through this clarified air, the landscape could offer its magical details, often full of guilt.
Long before the end of this performance, it was clear that this was one of the best interpretations of the music I have heard. My previous preparation became irrelevant. Nothing could have prepared a listener for this glow, this pure beauty of sound, this perfect balance, this wording always illuminated. For the first time in the experience of this concert, Anton Bruckner’s music made sense and an impression.
Joshua Bell, Alan Gilbert, Max Brooke, Anton Bruckner and the radio orchestra of northern Germany combined to deliver what can only be described as the experience of his life.
